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Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
01 Dec 2009
No need to rise for this Hallelujah Chorus
ENO did not exactly ‘import a choir of Heathens’ to encourage the Shaws of this world to ‘hasten’ to its version of ‘Messiah’ ‘if only to witness the delight of the public and the discomfiture of the critics,’ the contribution of ‘Heathens’ in musical terms being limited to representing the populace of an initially grey Britain (or so I assume) but for every critic who was discomfited — most of us — there were hundreds of audience members who loved it, so it’s fairly safe to predict a considerable hit.
It was famously said of Mrs Cibber that for her singing of ‘He was despised,’ all her sins should be forgiven, and I can forgive a lot of directorial sins for Catherine Wyn-Rogers’ deeply moving, absolutely committed performance, and for John Mark Ainsley’s characteristic skill in making fluent musical sounds whilst having to perform undignified acts. Sophie Bevan also had a lot to contend with in that ‘Rejoice Greatly’ was taken a little too fast for her, and she had to perform ‘I know that my Redeemer Liveth’ lying flat on a bed, something which no singer ought to be asked to do — those of us familiar with the Glyndebourne ‘Theodora’ will recall how Dawn Upshaw and David Daniels were similarly encumbered at the moment of their deaths, but there it was deeply moving as opposed to annoying, and at least they didn’t have to rise again and don an M&S cardigan. I found it less easy to forgive Brindley Sherratt’s blustery singing — ‘The Trumpet Shall Sound’ was off key and lacking in grandeur.
And did those trumpets sound for us? Did we, despite being committed Atheists, find ourselves saying ‘Wow, maybe there is something to all this religion stuff after all?’ Well, no — but we sometimes do just that after hearing ‘Messiah’ in the concert hall. Handel himself said that whilst composing the Hallelujah chorus, he felt ‘as if I saw God on his throne, and all his angels about him.’ All I felt here was the same sense of embarrassment I experience at the end of one of those services where everyone has to shake hands. The ENO chorus seemed somewhat subdued overall, and needless to say I Ioathed the drippy dancing.
Does it work? Musically, yes, and you would expect no less from Laurence Cummings’ ever-dynamic command of the orchestra, but the staging seemed too calculated to appeal to the ‘Christmas-addict.’ Of course, it’s a Christmas show, and if it brings in people who don’t know ‘Messiah’ then it will have achieved much, but somehow I had expected more from Deborah Warner: her concept of the kind of grey workaday world of which the poet wrote ‘So many, I had not thought death had undone so many’ being transformed by the suffering and death of Christ was a bit too ‘happy-clappy’ for me, and the Christmas-card images seemed trivialized. As for the child who kept running about to no discernible effect, I could have cheerfully shot the little tyke, adorable though he was. Jean Kalman’s lighting, as so often in this house and up the road, illuminated the stage with the most poetic sensibility.
Catherine Wyn-Rogers [Photo by Robert Workman courtesy of English National Opera]
Should you go? Well of course you should — you’ll hear some genuine Handelian singing and playing, and you’ll experience one of the great masterpieces in a new and occasionally refreshing light — just don’t expect to be as moved as you were by the same director’s ‘St John Passion,’ and be prepared to put up with a few squirm-inducing moments.